architectural skill has ever attained. In the thirteenth century our
builders were striving to attain the highest forms of graceful design
and artistic workmanship. In the fourteenth their work reached
perfection, while in the fifteenth there was a marked decline in their
art, which in spite of its elaborate details lacked the beauty of the
Decorated style.

[Illustration: MOULDINGS, TEWKESBURY ABBEY]

[Illustration: OGEE ARCH]

The arches of this period are usually wider, and are distinguished from
those of the Early English by the character of the mouldings. The
ball-flower, consisting of a ball inclosed by three or four leaves,
somewhat resembling a rosebud, is the favourite ornament, and a
four-leaved flower is often used. Roll mouldings, quarter, half, or
three-quarters round, frequently occur, and produce a very pleasing
effect. The form of the arch is in many instances changed, and the
graceful _ogee_ arch is introduced. The piers are round or octagonal in
village churches, and in large churches are formed by a cluster of
cylindrical shafts, not detached as in the preceding period, but closely
united. The capitals are bell-shaped, and in large churches richly
sculptured. Few of the wooden roofs remain, as they have been superseded
in later times; but the marks of the old roofs may often be seen on the
eastern wall of the tower. The windows are larger than those of the
earlier style, and are filled with geometrical and flowing tracery of
great variety and beauty. Small windows have heads shaped in the ogee or
trefoil forms. Square-headed windows are not uncommon, especially in the
clerestory, and in monastic churches circular windows are frequently met
with. It is characteristic of this style that the carving is not so deep